| American Idols: TWI-NY Talks With Michael Dorf |
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NYC Producer Pays Tribute to Great Songwriters by Raising Money for Underprivileged Children  Dorf puts together an eclectic lineup to raise money for music education By the end of 2007, MFY will have distributed close to $3 million since 1995 to such institutions as Children’s Aid Society Chorus, the Harlem School of the Arts, the Henry Street Settlement, the Bronx House Music School, the Brooklyn Conservatory of Music, and the Young People’s Chorus. There are still some VIP tickets left for the April 5 show (212-836-1853), but you better hurry. And even if you can’t make it, visit the organization’s Web site, www.musicforyouth.org, and donate a few bucks to this great, and unfortunately very necessary cause. Q: What was the genesis of Music for Youth? Michael Dorf: Music for Youth was set up by music industry players to help bring needed cash into the music education programs both inside of schools and in outside programs. Different from Save the Music which does a great job getting instruments to schools and programs, MFY actually provides cash to programs so that teachers, musicians, and other pros can be hired and for overhead so that facilities and places can actually execute on their visions. $2.5 million has been distributed in the past 10 years, with another $400,000 this year going out. Q: You’ve previously produced shows featuring the music of Joni Mitchell and Bob Dylan, and now you’re presenting the work of Bruce Springsteen. How do you go about choosing the performers, and do you see a commonality among the three you’ve chosen thus far?  MD: This tribute series is to honor the great songwriters and performers who stand up to the test of time. From Joni Mitchell and Bob Dylan in 2006 to our first tribute this year, Bruce Springsteen, we have selected artists who have contributed songs into the great songbook of American history. These are my American idols. What is most impressive during the process of selecting the diverse talent to perform—many, in their own right, great songwriters and performers—is the tremendous respect they show to the honoree. The number of artists who wanted to be on the stage is too great to mention—the outpouring of musicians who all have felt touched and inspired by the Boss. But what is assembled is an eclectic offering from folk, rock, blues, jazz, pop, world, and dance music that will each interpret Bruce’s great craftsmanship in their unique style and sound. Q: How do you go about putting together such a wide-ranging lineup? MD: I try very hard to give it a diverse feel and look. There is nothing cooler to me than trying to find new voices to old songs. So I really try and think about the different voices and what they would bring to a Bruce tune. I like juxtapositions, and things that are not normal. Perhaps that is my Knit background. Q: Although the artists being celebrated do not appear, do they participate in other ways? MD: Each of the honorees has been involved in different ways, from reviewing my ask lists to making suggestions, etc. So far, all three have been different levels of interest. I think as it continues to play out and the critical acclaim stays high, I’ll get even more room to be creative. Q: You’ve been an integral part of the New York music scene for a long time, including founding the Knitting Factory, which recently celebrated its 20th anniversary with a special show at the Town Hall. In the past few years, seminal clubs such as the Bottom Line, CBGB, and the Continental have either shut their doors or stopped presenting live music. How has the music business changed in New York City since your early days?  Michael Dorf rose to prominence in the New York music scene by co-founding the seminal rock venue The Knitting Factory So, going out to just see music in some dive, while there are some appealing elements, for an older audience who has grown up on rock and roll, they are looking for a classy and sophisticated place to enjoy the music, their rare nights out. Thus, doing this series at Carnegie Hall or Lincoln Center works so well—we have sold all three of the shows out, so I expect we will continue to sell out as I do more down the line.
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